Armed with only a wacom tablet, less-than-mediocre drawing skills and an acute sense of smell, professional photographer Ted Sabarese guesses how individual images were lit by other photographers and then sketches corresponding lighting diagrams. He also offers, sometimes humorous, behind-the-scenes insight. It's what you always wanted to know but didn't know who to ask.

Lighting (Clint): Crisp, punchy lighting like this can only be achieved with bare bulbs and no diffusion. The key light is a grid reflector at f11 with a 40 degree grid, boomed 3 feet above camera and 4 feet from Clint’s head. Overall fill is achieved with an on-camera ring flash at f4 1/2. Two small strip lights at f16 are 5 feet behind him, positioned camera left and right. Two v-flats have been set to focus the light on his head and block any potential lens flare. The strips lend strong highlights to his hair and shoulders.

Lighting (Hand): The lighting for Clint’s hand is nearly identical except that the two strip lights have been replaced with two normal reflectors and aimed at the white background. The key light has been lowered below the hand and pointed slightly upward.

Comments: When Clint arrived at the studio, he asked Scott what he was looking for. Scott said he wanted a combination of Dirty Harry, Bronco Billy and Josey Wales, but without the shooting him in the face part.